Dedh Ishqiya

Directed by: Abhishek Chaubey

Starring: Naseeruddin Shah, Madhuri Dixit, Arshad Warsi, Huma Qureshi, Vijay Raaz

Released: 2014

My rating: destroy every copy – horrible – bad – whatever – flawed but enjoyable - shitastic - good – great – amazing

Dedh Ishqiya is a film that gave me everything I wanted. Everything I expect from a movie, that too from a sequel of a film I already like a lot. I have been waiting for it for over two years, anticipating it with bated breath, so brace yourselves because this is going to be LONG.

Ishqiya is carried forward as a franchise by the extremely loveable characters of Khalujan and Babban, a notorious uncle-nephew duo, with eyes always on some prize and constantly trying to escape their rishtedaar from previous film. However while it is their franchise, it is not their story. Much like we witnessed Krishna´s story (albeit through their eyes) in Ishqiya, this time it is another woman whose life, struggle and plans come into focus. Neither Khalu nor Babban changed since we last saw them. Khalu is still in love with the idea of love and Babban has not lost anything from his brisque nature. Naseeruddin Shah and Arshad Warsi are both great, great actors. Arshad has the advantage over other characters in the film because he is really the only one providing fun and entertainment through one-liners, which he delivers like only he can. Naseeruddin Shah delivers one of his best perfromances, and given his amazing record that is really something. Khalu with puppy-eyes and love-struck expressions is a sheer delight. He is still a crook, but he looses himself in love (and is happy to do so), more than he intended. He has stopped dying his hair, has accepted his age, and his affections are indeed deep, not a flying romance which he shared with Krishna.

Huma Qureshi. My hope for a better Bollywood of tommorow.

But look for a woman behind everything, right? And this woman around whom everything is centered is remarkable. Now, we all know Vidya Balan seduced us one and all, men or women irrespective, with her earthy, raw sensuality. Begum Para seduces too, but through different means. Krishna from Ishqiya was real in every sense of the word. Begum Para seems to be from a different time and place altogether. As if she stepped out of an old painting, she carries herself with utter grace, refinement, class and distinct air of royalty. She seems an illusion the men are chasing wholeheartedly, and at the same time, as you wander through the haveli corridors in day time, it turns out the picture she gives to the outer world is a lying image, put up for the sake of mere survival. Unlike Krishna, Begum Para is not a deserted woman set after a revenge. And she does not need to sleep with anyone or lick their fingers to have them eating out of her lily-white hand. Her one look is enough to set hearts racing, as she possesses the aura of being above mere mortals and almost untouchable. She knows she has these qualities and is aware of the effect she has on people, and yet, at the same time..... she is a child in her soul. Crippled by past experiences, suffocated under the royal title and slowly dying on the inside, trapped in the enormous palace. Dedh Ishqiya heroine is just as exciting, and even more complex than Krishna, even though she is created from a different mould altogether. She too is unpredictable and unreadable, but that is where the whole similarity stops.

Every single interaction between Madhuri and Naseeruddin is magical.

If one expected a shrewd, scheming woman using her raw sex-appeal to get what she wants, Begum is not it. However Muniya is. She fits much more into the expectations people had if they approched the sequel with a pre-conceived notion of how the characters are going to be. Huma, arguably the most talented actress among the current new lot, plays her role of Begum´s close confidant with ease and conviction, and she is not at all lost beside other, much seasoned actors. Huma looks gorgeous and one can feel the energy and vivacity radiating from her. Her diction is wonderful. Not even her hairstyle can compete with the one the excellent Vijay Raaz is sporting though. In a film where everybody chases their own agenda he is no less and no more ambitious and sneaky than Khalu and Babban, making Dedh Ishqiya truly a story where there are no heroes and villains, just self-loving people who work towards their aspirations.

Screw poetry. My hairstyle is the best.

Dedh Ishqiya is a cinematic triumph in many ways, and one of them is the characters. This is one of the rare Bollywood films in which all of them are multi-dimensional, needed for the progress of the story and to drive the plot. There is no place for superficial rubbish.And all the actors involved are so massively talented and click so well together it just doesn´t feel correct to dissect the scenes for the sake of bringing somebody up or down. They are all needed, they all deliver and in the end the FILM is more important than any actor. And it works.

It wouldn´t be Ishqiya though, if love did not get in a way. And there is way more love than in the first film. Between more than two people. More than three. More than four. Dedh Ishqiya is just love, in many forms, with many faces, of different motivation and springing from various roots. The chemistry is at work between all four main protagonists, but interestingly Babban/Khalu and Begum/Muniya have better chemistry together than opposite each other. Babban and Khalujaan are indeed one of the most loveable „bromances“ I can think of, up there with Munna/Circuit, Karan/Arjun, „Shashitabh“ in most of their film and Anil/Jackie in everything they ever did together. They are comfortable with each other and it shows. 

What is much more rare and actually made Dedh Ishqiya so special was the bonding between Begum and Muniya. I have not seen two female characters being so close and in such a tight-knit relationship in a movie ever. At one point Begum adresses Munnia as her “dost, behen and jaan”. And there are more hints on what the relationship is actually about. The possibility that they MAY and MAY NOT be homosexual is enthralling. Munnia is Para´s „jaan“? We all know this word can be interpreted in more ways than one. And perhaps it is innocent. Perhaps not. It depends on the viewer, who can freely choose what they want to believe. And if indeed they are supposed to be lovers, then it is the most subdued, tasteful portrayal of such situation on the screen in Indian cinema. Nothing about it is in your face or riding on stereotypes. Even their prospective grooms are shown to be in awe and actually turned on by what they discover, rather than be disgusted and use it against them.

One of these is as innocent as a lamb without even knowing it.  Hint: it´s not the girl.

There are flaws. Minor ones, truly. The second half is rather slow, at the same time I cannot imagine any scene missing. Jagave Sari Raina dance number happens quite all of a sudden and out of nowhere, a bit more of a build-up would have made it even better. The song is gorgeously choreographed and executed, giving us even a flashback bringing us closer to understanding the backstory of Kahlu and Bagum. I definitely felt more should have been said about it. How close they were? What happened to them really? Why was it her specifically that Khalu set his mind upon once he realized he wanted something in life for himself? Was she his first love? How did he find her? Or was he keeping eye on her throughout the years? Too many questions to be asked.

Musical score is beautiful. I love the whole soundtrack, with qawali Kya Hoga taking the cake for the best song. And lyrics... Oh the lyrics! If we forget the Horn OK Pleaj track, it has been a long long time since such gorgeous and meaningful lyrics have sounded through cinema halls. Gulzar Saab penned down some of his best efforts for this movie. The background score is hauntingly beautiful and truly underlines the atmosphere of some of the scenes – Begum´s entry being one of them. It takes a little while before one gets used to Rekha Bhardwaj, but then the effect is wonderful.

Dedh Ishqiya can also boast of great dialogues. From Babban´s hilarious one-liners, his attempts to woo Muniya, Khalu´s elaborate poetry and all the lines Begum presents with her impeccable and unmatched dialogue delivery, the film is a language festival, Urdu in particular. Even I, though not familiar with it much, was smitten by how sweet and beautiful it sounded.

Camera work and visuals are excellent too.

To me the highlight of this fantastic film was Begum Para, brilliantly brought to life by Madhuri. Perhaps it is because I simply notice her more, then again there is reason why I consider this woman my favourite actress and she re-assured me I am justified in that opinion. And I am proud of her, because Begum Para is a role not everybody would or could do. Begum Para is not a Miss Goody-Two-Shoes. She is emotionally, possibly mentally disturbed woman. She is not interested in love, and of course there is the already mentioned homosexual colouring. Add to it you have to share screenspace with twenty years younger and fresh power-house of talent Huma Qureshi in most of the scenes. In her 30 years long film career Madhuri has given us some truly inspiring, strong characters. Independent and fierce women. Begum Para has something I don´t believe I have seen in any other of Madhuri´s roles – she is extremely frail and fragile. She is vulnerable. For all the plotting and mystery she has gentle innocence in her eyes. She projects such a feeling of helplessness and desperation one just wants to cuddle her up and comfort her, protect her from the realities of the world – and that we love Muniya for doing just that. 

Be it Para who is furiously scratching her own face out of old pictures or Para who in matter of seconds transforms into a seductive temptress, Madhuri plays the role to perfection. Her skin almost changes colour with the mood she portrays, she radiates warmth one moment and it is completely lost in the next, her expressions are lucid and clear and beautiful. And her dialogue delivery yet again flawless. Finally, this is a woman in her 40s, shown as extremely desirable, a central piece of the story, and both she and Muniya make for some of the best feminist characters in recent times. The world of Ishqiya is unique because it shows that WOMEN ARE PEOPLE without need to call anything female-centric and flaunting any such „progressive“ tag.

And so a complaint of mine would be we did not seen nearly enough of her in the film. The screentime is distributed amongst all the actors pretty evenly, which gives them all their chance to shine, but ultimately takes away from the most interesting person of the story. I desperately wanted to know more.

All the bias of mine aside, Dedh Ishqiya is not a flawlessly sculpted film, but that doesn´t take away from the charm it possesses and the story stands pretty strong. Dedh Ishqiya is a celebration of acting, of chemistry and camaraderie, of language and classical dancing. A strange, captivating atmosphere breathes through the film, showing a world where time had stopped, and while some want to rule it, others wants to be free of it. Dedh Ishqiya is witty, entertaining, clever, sensitive, original, better than in predecessor and for me as a woman extremely satisfying. Dedh Ishqiya is important.

Hope to meet these guys again, really.

Open letter to DNA editor Upala K. Basu

Originally posted HERE

It is no secret I am a Madhuri Dixit fan, and I have also made no secret over how disheartening I found the failure of Dedh Ishqiya at the box office. However the following lines are not a reaction of a Madhuri fan, they are a reaction of a WOMAN I am above being everything else, and I would like those of you who read it forget about everything you know about me except for the fact I am a woman and an avid watcher of Bollywood films, old and new.

Just this morning I have been directed to THIS ARTICLE published by DNA and written by their Deputy News Editor Upala K. Basu - and to whom I would like to convey this message:

Dear Madame,

much like majority of others you too obviously believe actors and filmmakers - but above all actresses - are only as good as the box office figure of their last movie. It doesn´t matter if they have as long as 30 years of hard work, success and appreciation behind them. In fact, that is what makes them even easier to target. With your latest contribution to DNA you have made abundantly clear you believe women come with an expiration date, talent or artistic abilities nonwithstanding. You believe after reaching a certain age an actress should dilligently fall into a convenient slot and stay there if she wants to be accepted by the audience, and basically implied that any other attempt on breaking new ground is not wanted or needed.

If I am to dissect your article, right from the very first paragraph it shows how unprofessional views you hold and voice out. A failure of a film is never one person´s fault, even more so if it is a film like Dedh Ishqiya - with four main leads of equal importance. Given Madhuri Dixit is the greatest star of them all, Naseeruddin Shah is still nothing short of a living legend, Arshad Warsi is a comedy king for the masses and Huma Qureshi has been only gaining in the count of fan following ever since she made her impressive debut. And these are just actors. The makers are critically acclaimed Abhishek Chaubey and even more critically acclaimed Vishal Bhardwaj. To pin low BO collections on just one actress is highly unfair, especially since if it was the other way round people would be giving credit for the success to all people involved. Including you.

Perhaps the most outrageous part of your article is the following: "Sridevi chose to return to the big screen with a film befitting her age. She played a wife and a mother. Madhuri chose to return as the leading lady who is looking to get married and is holding a swayamvar.” There is no other possible interpretation than that a woman over 40 can only be a wife and mother. There is no other way a role could “fit” such an actress. How very narrow minded and short-sighted such a perception is? While being  a mother and a wife is for most (definitely not all!) women what they aspire for and cherish, a WOMAN is always a WOMAN first. Everything else comes later. Given your poor observational skills and biased, sexist views, I do not suppose you have ever watched Mother India (1957). The amazing message of that movie is that a woman is a woman, and a mother is able to kill her own beloved child for the sake of protecting the dignity of womanhood. Saying Madhuri chose a a role not befitting her age is utter nonsense. Begum Para Mirzada IS a woman in her late 40s, she is a widow and she is actually an inspiration to all women by carrying on with her life, planning her future and making her own choices.If all you could think of while watching a movie with story as complex as Dedh Ishqiya, and with a character as layered and problematic as Begum Para Mirzada, was that a woman in her 40s is planning to remarry (and for whatever reason you found it wrong), then it shows you are unable to broaden your own mind and accept a concept that differs from traditional, rusted views.

It is nothing but painfully ironic that you mention Naseeruddin Shah´s seniority over Madhuri as a problem that weighted the movie down. The age difference between the two is still lesser than the age difference we see almost every Friday in other films. Shahrukh Khan´s next is opposite Deepika Padukone, Salman Khan opted for baby-faced Daisy Shah, Aamir Khan got to romance Katrina Kaif, Sunny Deol was cast oppostie a 19-years-old Urvashi and I still have nightmares over Sanjay Dutt drooling over Prachi Desai just last year. This in itself screams “sexist”, much like the fact male stars are allowed to be in our faces 24/7 and still make films, but the moment an actress reaches out to her audience through the same means she becomes over-exposed. Yes, it kinda rules out rushing into the cinemas because of a specific actress, BUT people should be primarily interested in good cinema over somebody´s persona. It is not such case in India, which results in public being happy about mediocre to downright atrocious movies as long as their middle-aged hero looks impressive on screen. Putting a movie like Dedh Ishqiya down just because one of the leads is often seen is, again, unfair and irrelevant considering the quality of the product.

Another sexist claim of yours: “She needs to evolve and needs to let go of playing the desireable diva.” Again, you imply that a woman who has crossed a certain age is not desirable no matter what she does. Wrong. A woman in her 40s, 50s, even 80s can be desirable and charming. And as for evolving - Madhuri Dixit has beaten all other actresses of her generation in it by choosing Dedh Ishqiya and the character of Begum Para (I am beginning to think you have not even bothered to watch the movie). Begum Para is a child-woman, crippled by past experience. Her health has deteriorated and she is possibly even mentally disturbed. Ad to it (and now I am sorry for the spoiler to all who might read this and not have seen the film) homosexual colouring of the character, her disinterest in romantic love (SPOILER END) and unapologetic actions. What you have is an absolutely new, unique character, never seen before in Indian cinema. You applaud (and rightly so) Sridevi for her meek, sweet housewife who finds self-respect, but Begum Para is no less compelling or complex. In fact she is much more fascinating. She is just not easily to relate to. Madhuri Dixit has taken up a role most actresses would turn down out of fear it would rag their image. Instead of being launded for her daring choice and stunning performance she is being told to settle on conventional mother roles and being put down because she was presented as beautiful and enchanting.

In the end I would like to point out to you that some of the most loved and celebrated gems of Indian cinema flopped badly at the time of their release. Kaagaz Ke Phool, Guide, Mera Naam Joker, Umrao Jaan, Lamhe, Andaaz Apna Apna, Dil Se and others are considered masterpieces and are remembered as cult classics. Even Pakeezah was flopping badly and was only saved at the BO because of Meena Kumari´s tragic demise. There is no denying Dedh Ishqiya did not hit the bull´s eye, while another random college romance Yaariyan scored. Now look ahead of ten years and say with conviction Dedh Ishqiya, with its poetic setting, unique story, different treatement and brilliant exectuion is not going to be remembered and loved. And look just few months ahead and tell me people will actually even remember Yaariyan.

You may defend yourself by saying you only write what people think. However that is not an excuse good enough given you expressed your own opinions. Surely you must realize how strong the sexism and ageism in the two-faced Bollywood industry is. And how wrong it is. Pointing out what is wrong in mindset of society is your job. I can just say you are extremely lousy at that, serving to support the sexist, ageist mindset instead.

Sincerely an offended woman in her twenties.

Mahaanta

Directed by: Afzal Khan

Starring: Sanjay Dutt, Madhuri Dixit, Jeetendra, Amrish Puri

Released: 1997

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Mahaanta is one of those films I tend to pretend do not exist, because it is one of those films that cause me an acute pain as a Madhuri Dixit fan. In making for almost 9 years, by the time Mahaanta came out it was badly outdated in all aspects. The star-cast, that must have been extremely impressive in the late 80s, when the film shooting actually started, was, by the time it released, almost exclusively considered veteran and non-happening (apart from Sanjay and Madhuri). The story too was one of those bloody thrillers about revenge so popular at the time, but no longer relevant in the post Hum Aapke Hain Koun and Dilwale Dulhania Le Jayenge era. It wasn´t handled well either.

"Why were all my scenes cut out and my presence in the film reduced so much?"

"You are too old to be a heroine. Better you face it soon."

Honestly, I don´t know where to begin. The film is extremely boring from the start, and to be honest I couldn´t really follow what was happening. There was Jeetendra, already looking 60, but playing a young man, I caught a glimpse of the beautiful Poonam Dhillon (and my, does she disappear like a rock in the ocean not to be heard of again in this film!), but mostly the story seemed to focus on devilish Amrish Puri, who runs illegal business and has brave, but stupid police officers murdered. And then, out of nowhere, Sanjay Dutt appear to save the day and Jeetu´s ass (just like that, no explanation given). And in the next moment he´s wearing a tight yellow Speedo T-shirt, buying sarees for his bhabhi in a supermarket, and falling in love with the gorgeous, though horribly dressed Madhuri, as she´s passing around. However, Amrish Puri´s „son“ falls in lust with her (no, that isn´t a typo) and to get her he tries to rape her, and when he gets a beating, asks daddy to get him the gal.

DAT SPEEDO!

By threats to her and Sanju Amrish forces Madhuri to a wedding, but Sanjay having none of that manages to steal the bride for himself and marry her. And from this point on, the story gets even more boring and confusing, with more kills and more raping, and Jeetendra circling around as a righteous protector of the law while Sanjay turns into an avenging killing machine and having a song after he murders every single one of his enemies (sorts of „Ninety-nine bottles of beer on the wall, Ninety-nine bottles of beer. Take one down, pass it around, Ninety-eight bottles of beer on the wall“ gaana). Until in the end Sanjay and Jeetendra have a Dostana moment of mutual forgiveness and renewed love for each other. Doesn´t you head hurt just reading? Now imagine actually watching all this in span of approximately three hours.

"I brutally murdered a guy just now. Sha-la-la-la-la!"

None of the actors gives a really bad performance, but none excels either. Jeetendra is boring, Sanjay´s character actually rather unlikeable, Amrish Puri gives us his standart staring villain and Madhuri doesn´t have a big role, especially in the second half she only appears for the songs - a reminder that she signed the film in the late 80s. Heck, Shakti Kapoor is on the screen more. Music is fine and catchy enough, although picturization of Chule Chule makes Sanjay Dutt look like a blind, deaf and unfeeling wooden log, because to sleep with your own wife would probably take away your super powers or what. Let´s just smack her across the face, that´s right. Just like when she said she loved you. Indeed, Sanju may love Madhuri in the film, but I have no idea why would she love him so dearly, cause treats her like dirt most of the time.

Saajan-wali Madhuri.

DTPH-wali Madhuri.

All those years it was in making ruined the film completely. I´m completely sure Sanjay and Madhuri´s story was just a supporting one to the main of Jeetendra and Poonam Dhillon, or at least there was loads more of Jeetendra and Poonam than what we´ve got to see eventually. Scenes were being rewritten and reshot, which we can perfectly document by seeing fresh and happy Sanjay vs. tired and weary Sanjay who just got out of jail, Madhuri with skin problems and black curly hair from the times of Saajan and Madhuri with flawless skin and brown messy hair she sported post 1996, and of course Sanjay´s mullet is ever-changing, not staying the same in two scenes.

Mahaanta is a pain. In the hearts of Madhuri fans like me, in the brains of all the sane movie-watchers, and if you manage to sit through it all at once, it can easily give you a pain in the...

"Baby, let´s make a baby!"

"No. I haven´t kill everybody in this film yet."

"WTF dude?"

Raja

Directed by: Indra Kumar

Starring: Madhuri Dixit, Sanjay Kapoor, Paresh Rawal, Dalip Tahil, Mukesh Khanna

Released: 1995

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

There is really only one legitimate and valid reason why to watch Raja and that is Madhuri Dixit. Without being biased in the least, this was a film she owned completely and fully, brought life and energy into it, made it not just watchable but actually entertaining, and ultimately carrying it completely on her delicate shoulders to the hit status. The title may have been Raja, but just like three years earlier when Beta became Beti, one screening was enough for janta and critics to re-christen the movie to Rani. The movie is essentially a typical 90s Bollywood masalla, with pyaar between the hero and heroine being impossible due to money issues and family enmity, with lovely songs, memorable dance number and poetic justice coming hand in hand with the redemption of the villains in the end. All Indra Kumar style aka with logical loopholes that are brushed away with a daring grin and lots of over the top comedy.

The only reason to watch the film.

Two wealthy businessman brothers Rana and Vishwa have just proposed a future aliance of their little sister Madhu with Raja, just as little brother of another wealthy businessman Birju. But as soon as the engagement of the children, who are indeed fond of each other, is confirmed, Birju looses all his property because of a big fire in a factory. Not only poor Birju is a beggar now, but his wealthy friends call off the engagement, and to top it all he gets electrocuted (!) which results in him being mentally challenged for the rest of his life. Fortunately for him his little brother manages to take care of him, even though the two now live in the outskirts of the city in poverty.

The only reason to watch the film.

Years are passing by and soon little cute Raja grows into rather un-cute Sanjay Kapoor, dreaming about the little girl whom once he was engaged to, and refusing all other brides (kind of highly presumptious of him if you ask me). It may be bit of a trouble looking for her though, as she too has grown up and Raja doesn´t even know what she looks like. She would have to literally run into his arms for him to find her. And she does, following a lost bet. While she, unaware that he is her childhood friend, falls in love immediately with his unattractive wooden self, he only falls in love with the gorgeous, lively and enchanting creature AFTER he finds out she is Madhu (makes as much sense as a dog with a taco on its head). But her brothers, who by the way have not aged a day, are opposed to this love, intending to wed their sister to a rich Prince. What follows is a whole avalanche of situations that rate from silly to completely insane, including Madhuri in nothing but a loose white shirt romancing Sanjay in the presence of a group of archeologists who are all apparently over 100, the run away lovers believing that those who were after them were only hunting them to give them their blessing, breaking apart because of a huge huge misunderstanding and getting married in what has to be one of the most bizarre wedding ceremonies ever, unless you consider walking the seven circles around a flaming fountain with one of your brothers nearly burning to his death normal.

The only reason to watch the film.

Raja was supposed to be Sanjay Kapoor´s successful re-launch ater his previous flop debut, and till this day remains his only hit. Or rather the only hit he ever starred in as the main male lead, because as I´ve already mentioned the movie was ruled supreme by Madhuri. Sanjay Kapoor never was a hero material. He suited small, unchallenging roles of nice uncles and brothers, but as a lead he is painfully weak a performer. The one unchanging expression, zero voice modulation, unimpressive dialogue delivery and of course a complete lack of charisma makes one wonder if this really is a brother of Anil Kapoor (whom I do not really like, but his X-factor is just incredible). All others overshadow him completely, from excellent Paresh Rawal to briefly appearing Himani Shivpuri. And of course – Madhuri.

The only reason to watch the film.

When she appears on the screen, it´s like sun coming out of the gray clouds. She enacts her character with admirable ease, providing not only powerful emotional scenes, but also her very much under-used (by the filmmakers) comic sense, which proves to be simply delightful. She shows that she owns the possibly most expressive face ever and is able to change expressions of all kinds within a second – just watch the following song!

After the watching you really feel it was not Raja but Madhu, who was the lead. She is girly, spoilt and even rather snobbish at first, yet still good at heart. It was refreshing to see a girl going after the guy (and not vice versa) and that too so openly, boldly and being completely unashamed of anything just to get her way.

Raja is heavily flawed, yet still a classic. And if I haven´t mentioned it before, it´s because of one simple reason only. Madhuri Dixit. She makes it all worth it and more.

The Magic of Madhuri

For the past seven days we have been celebrating the gorgeous diva Madhuri Dixit and her contribution to Indian cinema. Whatever could be said, was said. Whatever could be posted, made it´s way to internet. And still there is so much uncovered ground! Because I know that many people are still working on something, I decided to ignore the deadline given by the May 15th. Everyone is most welcome to send me the links to their articles during the next week also, you can be sure I shall add it to this post too.


And so HAPPY BIRTHDAY MADHURI-JI. For all the smiles, for all the dances, for all the emotions you have shared with us through your craft. You remain very much loved and in eyes of many unmatchable. This all is dedicated to you as an expression of love your fans and well-wishers, as an appreciation of all cinema lovers. Happy birthday to you.

And here comes the promised logo made by Vishal K Bharadwaj. And he has done a brilliant job! (thank you!!) All the participants are most welcome to use the image on their blogs if they want to!

And here are the articles published under The Magic of Madhuri week banner, in order as they were published:


Madhuri Dixit - when name weaves magic

Madhuri. What else? 

Ankhiya Milao Kabhi Ankhiyan Churao 

When dil goes dhak dhak (part 1)  

When dil goes dhak dhak (part 2)  

The Magic of Madhuri - Dhak Dhak karne laga 

Why do I love Madhuri Dixit? 

Can Madhuri´s magic be captured? 

Madhuri´s forgotten dances 

You watched Koyla? Bloody fool! 

Madhuri and her men 

Madhuri loved and hated 

Reflections about the screen jodi Sanjay Dutt and Madhuri Dixit 

How do you solve a problem like Madhuri?  

Aaja Nachle 

Koyla 

Que Sera Sera 

“Zindagi Ek Juaa” Madhuri as drug fiend! 

Madhuri´s interview for Movie magazine, 1996 

When Madhuri Dixit was a South Indian Film Hero (Two Degrees of Prakash Raj) 

It’s been three years since I last did a post for Madhuri Dixit’s birthday… 

How to dress like Madhuri 

Madhuri Dixit - the ultimate woman 

Madhuri Mania: My favourite Madhuri Dixit songs 

Mujhe Neend Na Aaye 

How I wasn´t happy when Madhuri Dixit signed a new film 

Love you Raja 

Madhuri signs Satte Pe Satta Remake 

How to eat a hero

Looking for Magic 

Happy birthday

Those are all the articles I have received. If I have forgotten any, do not hesitate and let me know! Thank you all for participating and making this week special!!!

How to eat a hero

The gorgeous man-eater

If you should just like that, on the spot, remember some of Madhuri´s male co-stars, the names to spring into your mind will be Shahrukh Khan, Salman Khan, Anil Kapoor, Sanjay Dutt, Aamir Khan and Jackie Shroff. Then you just might remember Mithun Chakraborthy as well as Rishi Kapoor. The truth is that after she completely overruled Anil in Beta (1992) and whenever a film of hers flopped with people saying she was the only good thing in it, she quickly gained a reputation of a woman who tears her co-stars apart and „eats them“. It was said that many actors were apprehensive of acting alongside her, because she was sure to overshadow them. This was a rare quality which, as far as I know, only two other women possessed – Madhubala and Sridevi. Not even Anil, Jackie or Salman for hat matter were saved. I honestly believe she only found a true match as far as screen presence, charisma and skills are concerned in Shahrukh and Aamir. But let´s take a look at some of her lesser known victims.

Tapas Pal was Madhuri´s first hero. Her debut film Abodh was meant to be his entry into Bollywood. He originates from Calcutta and these days he´s into politics, while his co-star, whom he launched (though unsuccessfully) is Bollywood legend. Abodh however turned out to be his first and only film in Hindi. In between 1991-2000 he had no film releases whatsoever, most recently he appeared in a movie „I love you“ from 2007. You cannot really talk about any chemistry between the two actors. Madhuri was too young and too inexperienced, plus the film was about marital misunderstanding. Still they did look well together, and Abodh remains a sweet film thanks to their pairing. They were not even remotely sizzling, but definitely pleasant to watch. And funny to say that even though Tapas was an experienced actor, it was the debuting girl who left some impact.

Vinod Khanna. Alright, you would remember the fact he was paired opposite Madhuri because of that super infamous scene in Dayavan. I think it is sad not many bother to see further. Vinod Khanna was much older then Madhuri and their couple could be perhaps seen as Shahrukh/Deepika of their time. They were paired opposite each other in two films. First it was Dayavan – and the kissing scene, during which Madhuri was so desperately uncomfortable, never really bothered me. The couple was just married after all, and there was no eating of each other´s heads anyway with sensual music in the background. Dayavan (1988) actually had several truly beautiful romantic moments and one could feel peace and silent love from the relationship. The second film was Mahasangram from 1990. Here Madhuri had a rather insignificant, but truly hilarious role and kept the film from being too depressing. We do not see much of a relationship here. She simply meets him, robs him, saves him, dances for him, he saves her life and they get married. While in Dayavan I actually quite liked them together, in Mahasangram they did not have any effect whatsoever. Madhuri was there for herself and not as a half of any couple. And she did a splendid job.

One of the most touching moments of Dayavan.

Sunny Deol appeared with Madhuri in two films. First one was a hit Tridev (1989), in which they were husband and wife, but considering they are violently separated very early in the film, there is not much jodi-ness going on. We do get a beautiful love song though. The second time they acted alongside each other was 12 years later in Yeh Raaste Hain Pyar Ke. In this forgotten (THANK GOD) Sunny was her friend, whom she refuses to marry, since she is in love with somebody else. Thus we can mention Ajay Devgn. YRHPK had him as the main lead in a double role, and Madhuri romanced „both“ Ajays, though only one was interested in her. While Sunny and Madhuri looked good together and I wouldn´t mind seeing more of them even today, Ajay Devgn is one man with whom she shares a truly zero chemistry. He is brilliant actor. She is brilliant actress. But they simply don´t work. After the film Ajay admitted he always felt dwarfed by her acting.

Sunny and Madhuri just engaged. Jackie was Madhuri´s brother in the film.

With Ajay Devgan. Chemistry, kahan ho tum?

Sanjay Kapoor´s name accompanied Madhuri´s in two films – first time it was in Raja in 1995. The film by Indra Kumar was meant to be his way to the Bollywood height, but even though the film was a big hit, all credit was given to Madhuri. Not only her skills and experience was far greater, but Sanjay Kapoor, though an OK actor, completely lacks any screen presence and Madhuri pretty much reduced him to ashes, though of course not intentionally. Sanjay Kapoor did not stand a chance at all. Next time they met on the silver screen he was in love with her, but she was not in love with him, though thanks to a dream sequence we got to see them romantically involved for a moment. That was in Mohabbat (1997). And Mohabbat also marked Madhuri´s first working association with Akshaye Khanna. Madhuri was thus one of the three actresses (other two being Hema Malini and Sridevi) to romance both father and son. And she had better chemistry with the son, though he is seven years younger. She did look older then him in the film, which did not at least bother me, because she still looked gorgeous, and you know, older women do romance younger guys in real life pretty often. But for many narrow minded people this was a big problem, and reviews more then about the film talked about her 9 years old kissing scene with Akshaye´s father. How professional. Second time that gave us a chance to see Akshaye with Madhuri was ten years later in Aaja Nachle. His hair loss obviously made up for any visible age difference and there was not one complaint. And while in Mohabbat they were cute, in Aaja Nachle they were sizzling! This is one couple I´d love to see again.

You know without the man on the left it would be a perfect picture.

As far as I know (and I can be wrong as I have not seen all Madhuri´s movies) Chunky Panday too shared the screen space with the diva two times. In Tezaab (1989) I can´t actually recall any scenes he would share with Madhuri, except for driving the car while she and Anil Kapoor are being miserable about their romance not going too well. He got his chance to woo Madhuri in 1991 in Khilaaf, and well, he screwed up. Madhuri´s unbounding passion in the film, be it connected to love or hate, was just overwhelming, while he managed to make a complete idiot out of himself in the first part, and rather unconvincing tragic lover in the second. To look at them was pleasant. To watch him act with her not so much.

No matter what, this song was amazing...

Nana Patekar was never trying to hide his deep admiration towards La Dixit and even was heard reciting poetry dedicated to her during his interviews. Their working relationship covers several films, but they were never romantically paired in the true sense. In Mohre (1987), Parinda (1989) and Prahaar (1991) they had very limited number of scenes together (if any at all). This change with 1999 film Wajood. Not even this was a „jodi“, because Nana plays a stalker in love with Madhuri, and their only romance takes place in his dreams and imagination. The chemistry between them was great though. I always say you don´t have to be a romantic pair to have a chemistry, and this applies to Nana/Madhuri combo. Just watch their final confrontation scene in the theater to know what I mean. The explosion of superb acting of the two will blow you away. Nana did survive.

Talent and charisma overload.

Very similarly like in Mohabbat, there was a love triangle in another OK-ish film Aarzoo (1999). In it Madhuri was paired with Akshay Kumar. They have already appeared together in Dil To Pagal Hai, but there he has more of a cameo role and she belonged to Shahrukh Khan (after all, the most beautiful lady belongs to the sexiest man, no?). In Aarzoo he got her undivided attention and it was really nice to see their pairing. I found them refreshing, though poor Akshay did not stand a chance against Madhuri in attention grabbing.... or other things. Saif Ali Khan, apart from admitting his naughtiest fantasy is to kiss Madhuri´s navel, also became a victim to Madhuri´s aura.

With Akshay...

...and with the guy who has naughty thoughts about her navel.

There are two more names that come to my mind: Samir Soni was lucky enough to make a couple with Madhuri in Lajja. True, we did not get to see much more apart him being a complete ass and ruining her dreams. But I wouldn´t mind seeing them together again, as I think Samir is a fine actor and well, they looked good. Finally we have Kumar Gaurav. He and Madhuri made a completely forgettable film Phool together in 1993. Do I really have to say that she ate them all up as was her habit?

How I wasn´t happy when Madhuri Dixit signed a new film

I have waited for a year. Quite a short time when compared to other fans, who had to wait for four. And between Devdas and Aaja Nachle there was even a greater gap. But it still felt terribly long and I´m sure all the fans understand why. To see Madhuri Dixit in at least one more film has been my great desire ever since I´ve become addicted to Bollywood. I was imagining myself jumping around the room, screaming with joy when she finally announces a new film. Yesterday her new film was announced. And I..... am not happy.

I feel rather disoriented to be honest. The burning desire to see her perform and sizzle hasn´t died out, but I would rather keep my wishes and dreams, then to see a film that would not be good enough. And since Aaja Nachle had so undeservingly only a little success, as a fan I was hoping for something smashingly successful. And the film announced does not fill me with any hope whatsoever.

Sanjay Dutt has obviously roped her into his remake of Satte Pe Satta, which originally starred Amitabh Bachchan and Hema Malini. There are no doubts that she will be amazing, but I honestly was hoping for something like Bhansali´s Mastani, or something new, original, mature, worthy of her immense talent. I guess I would be happy, if it was certain that Madhuri will sign other projects for upcoming years as well. But that is that one problem with being Madhuri´s fan – you never know when she will appear and there is absolutely no telling how long will the gap in between her projects be. Sure, the best thing to happen would be an adult drama/romance/masala with Shahrukh for me, but there are others amazing ideas – and mainly co-stars who I´d like to see her with. Leave alone Aamir and Salman, there is Saif Ali Khan, who I believe would be a terrific match for her, and there is Akshaye Khanna, especially since he and Madhuri looked so awesome together in Aaja Nachle and we never got to see any real „relationship“ happening in the film. Or if you really want to bring her back with an older actor, there is always Anil Kapoor and there is Jackie Shroff. To be honest out of all the co-stars I think Sanju Baba hasn´t aged well, and I never saw him more then just a good actor (meaning not great – and I beg forgiveness from all his fans).

Back then they looked good together. But times have changed and I have my apprehensions.

One also longs for that one role that will be to Madhuri what „Mother India“ was to Nargis and „Mughal-E-Azam“ to Madhubala, what „Umrao Jaan“ was to Rekha. The closest thing to something like that was Chandramukhi in Devdas, but there is still that little fact she was considered a supporting character.

Also Satte Pe Satta has many supporting characters. So did Aaja Nachle, but there all the supporting cast was just amazing, and I pray this will be the same case. But there are more things I dread. I personally have not yet seen Sohal Shah´s previous work (he is the director), but what I heard filled me with horror! That is my biggest concern. Sometimes I wish Madhuri actually did care whom she´s working with.....

Well, all I can say now is that it is rather hard for me to make peace with this news. I´ll try to block out everything else and concentrate only on the fact that Madhuri is doing a film. And I will pray it turns out good. And that it won´t bomb at the box office. Because I can see happening just that.....

And that is why I was not happy when Madhuri Dixit signed her new film.
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17.5. 2011 - UPDATE:

After the first shock washed over (mainly over the choice of a hero and director) and after I saw the original Satte Pe Satta, I am slowly regaining my optimism. All I to say now:

Madhuri - best of luck, we know you´ll be amazing!

Sanjay - best of luck, get into shape!

Sohal Shah - if you screw up, I´m gonna kill you!

everybody else - go and see this in a theater when it comes out!

Madhuri Dixit - the ultimate woman

You may have already seen it on youtube, as I´ve not made this recently, but here comes another of my Madhuri tribute videos. Hopefully you will like it!

Madhuri´s interview for Movie magazine, 1996

You know what is curious about old Madhuri´s interviews? That you can hardly recognize any change in her. Be it interviews she gave after Tezaab or the post-Devdas ones, she always remained dignified, friendly but not over-familiar, and very much maintaining the same views on life and work in general. True, little things did change. She gained confidence. And recently also opened up much more.

I find it amusing and funny going through some old magazines and reading her answers to certain questions. I recall clearly how she complained, that everytime she leaves for holiday in America journalists link her with a NRI doctor. "Why is it always a doctor? Why not other professions as well?" she claimed. She also stated that she didn´t have hobbies beyond the ones connected with acting, and specifically mentioned she doesn´t do scuba-diving and other stuff. I´m sure she herself would smile at those interviews today, before grabbing her schnorkel and diving into the water right after her husband heart-surgeon.

As a part of The Magic of Madhuri week I bring you her interview for Movie magazine from October 1996. You shall see for yourself, that she stayed the same. Hamaari Madhuri.

(click the image for bigger view)